Nightclubbing - The Best And Most Essential Album From The Off-The-Wall Grace Jones

Following the excellent Warm Leatherette (1980) album, her debut on the Island Records label which saw Grace Jones rewarded with slightly more commercial acceptance, the outrageous and off-the-wall diva returned to the recording studios in early 1981 for the unforgetable and highly versatile Nightclubbing project.

Grace Jones second album on Island Records is possibly the greatest of her considerably short recording career and captured Jones at her artistic peak. It features a series of remarkable recordings, encapsulating a multitude of styles ranging from New Wave, Reggae, Funk, Jazz and Soul. Jones was again aided by the inimitable production skills of those reggae wizards, Sly Dunbar and Robbie Shakespeare.

Nightclubbing (1981) begins with the curiously compelling, Walking In The Rain, which sets a dark, atmospheric tone for the duration of the project. The hypnotic, trancey arrangements are ignited by a compelling performance from Jones who literally inteprets the lyrics into an interesting spoken interlude. This is one of her most bizarre and off the wall recordings, yet there is something fascinating about this recording that literally grips your attention from the opening bars through to its thrashing climax.

Grace Jones then delivers what is possibly her very, very best and most rhythmically dynamic recording ever - Pull Up To The Bumper. This funk-driven track, complete with spiralling rhythms, is totally infectious. The lyrics are also scattered with double entendres suc as "drive it in between" - in between what one wanders Miss. Jones?????. In the U.S Pull Up To The Bumper catapulted to No.5 on the Black music singles whilst shooting to No.2 on the Club Play listings. In the U.K Pull Up To The Bumper fell just outside the top 50 charts on its original release in 1981 though on its re-issue in 1986 zoomed in at No.12 becoming one of Grace Jones biggest U.K sellers.

Her cover of Bill Withers, Use Me has striking Reggae-flavourerd arrangements and holds a surprisingly strong and assertive vocal performance from Grace.

Her startlingly unique version of Iggy Pop's Nightclubbing is a total stark contrast to the original, flowing with strange, synchronized sounds that zoom in and out at various points throughout the recording that was way ahead of its time and merley adds to the over-all dark atmosphere and mood of the album.

The New Wave sounds of Art Groupie is another interesting and diverse concoction, but the music then steadily steers direction, driving into French-flavoured jazz on the eccentric but undeniably brilliant, I've Seen That Face Before in which Jones delivers both English and French spoken passages.

The only real disappointment of the album comes in the lacklustre version of Feel Up - the reason being was that she did a far better and more exciting version in her totally weird yet compelling A One Man Show (1982).

However the album soon gets back on track with the stomping rock track, Demolition Man which is ignited by tough, thrashing musical arrangements and a red blooded, ferocious performance from Jones who conveys a lot of spirit, fire and passion.

Nightclubbing then gradually winds down with a surprise in the jazz-soul number I've Done It Again. This number allows you to appreciate the surprisingly soothing qualities of her voice. Never have I heard her sound so effeminate as she does on this track.

Nightclubbing is an ESSENTIAL Grace Jones album. It raced to No.9 on the black music album charts, whilst gliding into the U.K and U.S Top 40 album Charts. It was also voted album of the year by the New Musical Express magazine.

Ian Phillips

November 2006